babyjaguar
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Reviews
Terrifier 3 (2024)
Terrifier 3: Franchise goes HG Lewis
Damian Leone's "Terrifier 3" challenges Hollywood's notion of the 21st era horror film. With today's newest horror genre: slow burns, folk horror, etc., Leone goes "ol'skool" from "Terrifier 1" - using practical special effects rather relying on CGI and AI effects. What lack in "Terrifier 1-2" ... "3" does!
The lastest entry in the "Terrifier" series with character development, crafted subplotting, etc. While connecting all films. Even the set designs are in better production. This return of "Victoria" character from "1" andb"Sienna"/"Jonathan" from "2" even connecting the initial short, "The Ninth Circle" which first showed "Art the Clown", a demonic serial killer.
This story continues from "2" where "Sienna" goes to her dead mother's sister home. Although "1" & "2" and "The Ninth Circle" were set during Halloween, "3" is set for Christmas holiday.
For the advance horror reader, there's much speculation on "Easter eggs" and referenced kill scenes of 70s/80s films from "Black Christmas" to "Pieces" suggested by "3" violent sets. The film's cinematographic aesthetically from early 80s East Coast-produced horror.
There's seem to be a growth with Leone's talents straddling as a director and practical effects person. To be clear, "3" is a transgressive film - only for viewers with a "Grand Guignol" or a HG Lewis sensibility. Recent reports of group demonstrations at "3" screenings - viewers walking out of theaters.
Public reactions echoed controversial 80s films like "Maniac" which had many groups protesting it's screenings in Los Angeles and other places. Leone's film carries Catholic overtones, from crown of thorns to crucified corpses to demonic possession, linking it all to Christmas may have sprouted public outburst.
Leone popularity which spouted from fan-based/crowd funding efforts, brought forth "Terrifier 2".
It has echoed "Blair Witch Project" popularity like "Terrifier" franchise grew out from a non-Hollywood network.
The lastest entry in the "Terrifier" series with character development, crafted subplotting, etc. While connecting all films. Even the set designs are in better production. This return of "Victoria" character from "1" andb"Sienna"/"Jonathan" from "2" even connecting the initial short, "The Ninth Circle" which first showed "Art the Clown", a demonic serial killer.
This story continues from "2" where "Sienna" goes to her dead mother's sister home. Although "1" & "2" and "The Ninth Circle" were set during Halloween, "3" is set for Christmas holiday.
For the advance horror reader, there's much speculation on "Easter eggs" and referenced kill scenes of 70s/80s films from "Black Christmas" to "Pieces" suggested by "3" violent sets. The film's cinematographic aesthetically from early 80s East Coast-produced horror.
There's seem to be a growth with Leone's talents straddling as a director and practical effects person. To be clear, "3" is a transgressive film - only for viewers with a "Grand Guignol" or a HG Lewis sensibility. Recent reports of group demonstrations at "3" screenings - viewers walking out of theaters.
Public reactions echoed controversial 80s films like "Maniac" which had many groups protesting it's screenings in Los Angeles and other places. Leone's film carries Catholic overtones, from crown of thorns to crucified corpses to demonic possession, linking it all to Christmas may have sprouted public outburst.
Leone popularity which spouted from fan-based/crowd funding efforts, brought forth "Terrifier 2".
It has echoed "Blair Witch Project" popularity like "Terrifier" franchise grew out from a non-Hollywood network.
Chi sei? (1974)
Beyond the Door: a Exorcist or Rosemary's Doppelganger
This 1974 film is iconic since it represents a sleuthing of copycats from Satanic thematically films from "The Exorcist" (1973) to "Rosemary's Baby" (1968). It stars English actor Juliet Mills as the possessed mother with this Italian production. It all shot in San Francisco, California and dubbed in English.
The film had been recognized for its Jazz/Funk-influenced soundtrack utilizing San Francisco 70s scenery like the controversial Tenderloin area. The story surrounds an expecting mother living with two children living and her husband, Italian veteran, Grabielle Lavia.
The film's reference to cults is utilized well, making it different from other "Exorcist" rip-offs. At the time of film's release, Charles Manson and his cult were present in popular media. Also, the fact that there's known satanic cults in San Francisco area. The main character, mother was supposedly connected to a demonic cult, whereas Johnson's character is drawn to her, finding demonic possession. Cult imagery parade within the "haunted" actor, played Richard Johnson. One memorable scene is of a crucified Jesus, morphing it's gender.
Another strength is the surreal elements of its story. It multiple possessions, as though everyone surrounding the mother, has been touched by evil. Mill's possessed performance works well here - interesting urban scenes wandering in a trance, eating discarded street food for an unborn nourishment.
The optical effects are quite effective using some tricks owed to the "Exorcist" film.
This film tries a few new tricks, adding it's surrealist elements. An unforgettable scene with the two children within a room of dolls and toys that become animated. Years before Tobe Hooper's "Poltergeist" scenes of possessed toys and dolls.
It's sarcastic ending almost comical but a Karma-tragic final. It spinned off sequels using the same English title: "Beyond the Door" making use of this film's mother/child relationship, successfully done with the sequel.
The film had been recognized for its Jazz/Funk-influenced soundtrack utilizing San Francisco 70s scenery like the controversial Tenderloin area. The story surrounds an expecting mother living with two children living and her husband, Italian veteran, Grabielle Lavia.
The film's reference to cults is utilized well, making it different from other "Exorcist" rip-offs. At the time of film's release, Charles Manson and his cult were present in popular media. Also, the fact that there's known satanic cults in San Francisco area. The main character, mother was supposedly connected to a demonic cult, whereas Johnson's character is drawn to her, finding demonic possession. Cult imagery parade within the "haunted" actor, played Richard Johnson. One memorable scene is of a crucified Jesus, morphing it's gender.
Another strength is the surreal elements of its story. It multiple possessions, as though everyone surrounding the mother, has been touched by evil. Mill's possessed performance works well here - interesting urban scenes wandering in a trance, eating discarded street food for an unborn nourishment.
The optical effects are quite effective using some tricks owed to the "Exorcist" film.
This film tries a few new tricks, adding it's surrealist elements. An unforgettable scene with the two children within a room of dolls and toys that become animated. Years before Tobe Hooper's "Poltergeist" scenes of possessed toys and dolls.
It's sarcastic ending almost comical but a Karma-tragic final. It spinned off sequels using the same English title: "Beyond the Door" making use of this film's mother/child relationship, successfully done with the sequel.
The Substance (2024)
The Substance: Body Shaming
"Body Horror" and the gendering idea of "transhumanism" has been explored within Canadian horror filmmakers from David Crononberg's Rabid (1977) including it's 2019 remake by Soska Sister. Its remake take on the idea of fashion world and the beauty ideal.
This film plays with what horror scholarship called "spectacle of the ruined body" looking at 80s "Body Horror" genre like Crononberg's latter films but also one can consider 80s U. S. films: "Re-Animator" and "Society". Thus "The Substance" continues a transhumanist pathway in a critique of beauty. There's much flatness in its narrative, nothin new.
It's premise is the same, the buzz is how it works visually, combining science and technology with an old battle: keeping your youth. It goes beyond one narrative, into a 3-part story - the last one being the shortest. And its last story as the most absurd and bloodiest.
The director freely plays with story structure as it begins with a strong, almost linear. Then as the 2nd part unwinds a loose end. The third part becomes an insane scenario met with an uncertain end.
This film can suggest a problematic discussion on the 21st century Feminist narrative. From conventional concepts from the tension and dialogue between characters played by Dennis Quaid and Demi Moore.
The strength of the story comes from Moore's performance as a middle aged celebrity which echoes maybe, Jane Fonda? A film actress who later became an physical fitness icon, Moore plays it with much pathos.
Almost doesn't work since Moore's presence has always been an earthy ine not a shallow persona. But nonetheless considering Moore's actual movie career, it is a strong comeback with this film. Horror and genre filmmaking has been restoring a lot of Hollywood's older actor's with new life these years.
Moore helped this film's credibility and restore her star power, although her appearance is almost gone after the 1st part and abit of the 2nd part. For me personally, the film's shallowness (which it's moral point) overpowered the 2nd part, making it very predictable as human nature unfortunately can be.
This film plays with what horror scholarship called "spectacle of the ruined body" looking at 80s "Body Horror" genre like Crononberg's latter films but also one can consider 80s U. S. films: "Re-Animator" and "Society". Thus "The Substance" continues a transhumanist pathway in a critique of beauty. There's much flatness in its narrative, nothin new.
It's premise is the same, the buzz is how it works visually, combining science and technology with an old battle: keeping your youth. It goes beyond one narrative, into a 3-part story - the last one being the shortest. And its last story as the most absurd and bloodiest.
The director freely plays with story structure as it begins with a strong, almost linear. Then as the 2nd part unwinds a loose end. The third part becomes an insane scenario met with an uncertain end.
This film can suggest a problematic discussion on the 21st century Feminist narrative. From conventional concepts from the tension and dialogue between characters played by Dennis Quaid and Demi Moore.
The strength of the story comes from Moore's performance as a middle aged celebrity which echoes maybe, Jane Fonda? A film actress who later became an physical fitness icon, Moore plays it with much pathos.
Almost doesn't work since Moore's presence has always been an earthy ine not a shallow persona. But nonetheless considering Moore's actual movie career, it is a strong comeback with this film. Horror and genre filmmaking has been restoring a lot of Hollywood's older actor's with new life these years.
Moore helped this film's credibility and restore her star power, although her appearance is almost gone after the 1st part and abit of the 2nd part. For me personally, the film's shallowness (which it's moral point) overpowered the 2nd part, making it very predictable as human nature unfortunately can be.
The Front Room (2024)
The Front Room: The 'Racist' Test
I'm not surprised by not-so-great reviews of "The Front Room" (2023) is receiving from both critics and the average reviewer. This film actually has the "edge" pushing the envelope that films like "Get Out" (2017) and sleuthing of race-based psychological horror/sci-fi genre claim.
The Eggers brothers have composed instead of something new, took symbolism obviously based on historical research on U. S. race relations. There's some brutal characterization in "The Front Room" with the film's strong storyline. It relies with Brandy Norwood's excellent character portrayal of "Belinda" (considering the material's sensitivity she had to engage with).
Also the impeccable talents of theatrical Greek actor, Kathryn Hunter (only woman to play King Lear amidst the high theatrical circuit) plays "Solange", the elderly antagonistic mother-in-law.
"Solange" represents all that is ignored about U. S. race relations. A lot of historical sources from "Daughters" of Confederacy to "KKK", even though Hunter's body movement plays on today's continued reluctance with racism still ignored. This film uses the psychological horror to deal with the "elephant" in the room.
The strongest scenes are the dinner scenes and dialogue between "Belinda" and "Solange". Yet, understanding that this film maybe be extremely hard for some to digest, but it refers to what are just facts. Yes, there's still hurt for some viewers but as a psychological horror film could fit under the categorization of "Folk Horror" like Ari Aster's "Midsommer" (2019). I would moreover consider this film as "Antebellum Southern Horror".
But one thing that was weird that Hunter has a very distinguished Mediterranean skin tone (from her Greek heritage) sometimes I misread her character as biracial, considering that "colorism" is also part of U. S. Southern dark histories dealing with racism. The film's "Solange"/"Belinda" tension also deals with what today's class-consciousness society on the idea of "servitude".
The Eggers brothers have composed instead of something new, took symbolism obviously based on historical research on U. S. race relations. There's some brutal characterization in "The Front Room" with the film's strong storyline. It relies with Brandy Norwood's excellent character portrayal of "Belinda" (considering the material's sensitivity she had to engage with).
Also the impeccable talents of theatrical Greek actor, Kathryn Hunter (only woman to play King Lear amidst the high theatrical circuit) plays "Solange", the elderly antagonistic mother-in-law.
"Solange" represents all that is ignored about U. S. race relations. A lot of historical sources from "Daughters" of Confederacy to "KKK", even though Hunter's body movement plays on today's continued reluctance with racism still ignored. This film uses the psychological horror to deal with the "elephant" in the room.
The strongest scenes are the dinner scenes and dialogue between "Belinda" and "Solange". Yet, understanding that this film maybe be extremely hard for some to digest, but it refers to what are just facts. Yes, there's still hurt for some viewers but as a psychological horror film could fit under the categorization of "Folk Horror" like Ari Aster's "Midsommer" (2019). I would moreover consider this film as "Antebellum Southern Horror".
But one thing that was weird that Hunter has a very distinguished Mediterranean skin tone (from her Greek heritage) sometimes I misread her character as biracial, considering that "colorism" is also part of U. S. Southern dark histories dealing with racism. The film's "Solange"/"Belinda" tension also deals with what today's class-consciousness society on the idea of "servitude".
Zombi 3 (1988)
Zombie 3: Fulci Interrupted
This 1987 film starring Deran Sarafian and Beatrice Ring is definitely considered a clunker, seen as pure schlock plus to be an inferior film by the late Lucio Fulci. It's even said Fulci for decades refused to claim any directorial efforts, cancelled his participation and that director Bruno Mattei stepped in to finish it. The truth is the Italian film industry had dismissed Fulci as an accomplished director opting him for low budget productions whose health was not good. Fulci was ill during this film's production therefore its results were tarnished from the headstart.
Ring has stated in past interviews that Fulci was there to direct entire film along with his infamous reputation of mistreating actors. "Zombie 3" was made at the time that "zombie" films were in not in mainstream demand. Although throughout the decades because of Fulci fanatics as well as "bad movies so bad that they're good" sustained its presence.
Storyline's about a military experiment gone wrong and its scientists try to whistle blow it. Things get worse since the experiment created an airborne chemical that diseased humans into dead creatures eating living flesh (hence the "zombie" effect). Then nearby contaminated areas beared diseased living dead.
This film has no reference to Caribbean folklore like Fulci's successful film, "Zombie" (1979) set on a Caribbean island. This film is set on another island, the Philippines and in the late 80s.
Believed to be filmed in 3D format, only known version is a regular-formatted theatrical version; it didn't get a DVD US release until 2000s, before it was available on foreign home entertainment or by fan-based VHS duping trade.
Mattei is said to have directed the "surreal" scenes and Fulci supplied its violent gore scenes. This could explain why this film isn't felt as a typical Fulci production but a mixture of mismatched-directorial aesthetics. Its synthesized energetic soundtrack composed by Stefano Mainetti is memorable.
Ring has stated in past interviews that Fulci was there to direct entire film along with his infamous reputation of mistreating actors. "Zombie 3" was made at the time that "zombie" films were in not in mainstream demand. Although throughout the decades because of Fulci fanatics as well as "bad movies so bad that they're good" sustained its presence.
Storyline's about a military experiment gone wrong and its scientists try to whistle blow it. Things get worse since the experiment created an airborne chemical that diseased humans into dead creatures eating living flesh (hence the "zombie" effect). Then nearby contaminated areas beared diseased living dead.
This film has no reference to Caribbean folklore like Fulci's successful film, "Zombie" (1979) set on a Caribbean island. This film is set on another island, the Philippines and in the late 80s.
Believed to be filmed in 3D format, only known version is a regular-formatted theatrical version; it didn't get a DVD US release until 2000s, before it was available on foreign home entertainment or by fan-based VHS duping trade.
Mattei is said to have directed the "surreal" scenes and Fulci supplied its violent gore scenes. This could explain why this film isn't felt as a typical Fulci production but a mixture of mismatched-directorial aesthetics. Its synthesized energetic soundtrack composed by Stefano Mainetti is memorable.
Shiryô no wana (1988)
Evil Dead Trap: Just Japanese Horror or Embedded Historic Horror?
"Evil Dead Trap" (1988) is an important benchmark film for Japanese Horror (J-Horror) at the turn of a century when adult entertainment temporarily merged horror blurring Japan's 90s direct-home video (V-Cinema) plus 2000s theatrical "art house" releases. Directed by Toshiharu Ikeda, whose background is in adult cinema "flips" horror filmmaking. It's believed to have an international multitude of horror-cinematic influences, film critics suggest it sources from "Videodrome" (1983) to "Evil Dead" (1981). Some genre scholars have gone on to interpreted this film as a reference to Japan's past imperialism era, dark histories surrounding political torture.
Story surrounds around a TV crew investigating an abandoned bunker, to find proof verifying its location behind sent violent-recorded tapes. The main person, "Nami" played by Miyuki Ono goes on a hunt to debunk those videos only discovering that her crew is being decimated, one by one by a deranged assailant. Murders all taken place within the bunkers from sunset to sunrise where "Nami" fights for life.
It takes a different spin from then mainstreamed 80s "slasher" tropes: "virginity", "final girl", etc.. This film has stylish gore killings similar to Italian 70s/80s "Giallo" genre. One can see a Dario Argento influence with Ikeda's orchestrated violent scenes yet camera shots could suggest Raimi's cinematic style of "The Evil Dead". Other scholars have attested that Oliver Stone's 1994 "Natural Born Killers" borrowed Ikeda's scenes.
Yet, there's hasn't been really been a discussion that "J-Horror"/Asian fantastic genres having a pioneer film like "House" (1977) directed by Nobohiko Ohbayashi that has frenetic camera work and optical effects. Within a broad sweep of Asian exploitation filmmaking, Hong Kong in the early 80s explored Chinese ghost/vampire genres, pioneering Asian supernatural themes (all happening before Ikeda's film, bearing possible connections).
Story surrounds around a TV crew investigating an abandoned bunker, to find proof verifying its location behind sent violent-recorded tapes. The main person, "Nami" played by Miyuki Ono goes on a hunt to debunk those videos only discovering that her crew is being decimated, one by one by a deranged assailant. Murders all taken place within the bunkers from sunset to sunrise where "Nami" fights for life.
It takes a different spin from then mainstreamed 80s "slasher" tropes: "virginity", "final girl", etc.. This film has stylish gore killings similar to Italian 70s/80s "Giallo" genre. One can see a Dario Argento influence with Ikeda's orchestrated violent scenes yet camera shots could suggest Raimi's cinematic style of "The Evil Dead". Other scholars have attested that Oliver Stone's 1994 "Natural Born Killers" borrowed Ikeda's scenes.
Yet, there's hasn't been really been a discussion that "J-Horror"/Asian fantastic genres having a pioneer film like "House" (1977) directed by Nobohiko Ohbayashi that has frenetic camera work and optical effects. Within a broad sweep of Asian exploitation filmmaking, Hong Kong in the early 80s explored Chinese ghost/vampire genres, pioneering Asian supernatural themes (all happening before Ikeda's film, bearing possible connections).
Incubo sulla città contaminata (1980)
Nightmare City: Walking Non-Dead or Sprinting "Zombies"?
Mexican actor, Hugo Stiglitz and Laura Trotter star in this 1980 Spain/Italy production directed by Umberto Lenzi. "Nightmare City", in US as "The City of the Walking Dead" (Lenzi never like this alternative title but in Italian it's "Incubo Sulla Città Contaminata") is infamous within "zombie" genre tropes in pioneering the running "zombie" (Lenzi never seen this film's radioactive or diseased men as "dead" beings) way before "Return of the Living Dead" (1985) and "Dawn of the Dead" (2004) remake.
The storyline is about a reporter (Stiglitz) covering a mysterious but classified military incident that produces these vampiric "ghouls". The rest of the film follows vignettes of people surviving a city of running "ghouls" surrounding the main characters: reporter and his doctor-wife (Trotter). Lenzi had commented the film was inspired by a real Italian village contaminated by a gas leak (interpreted as a fear of nuclear power in film) going against producer's desire to based it on a modern "zombie" trope.
Aside from gory scenes, the another star of this film: Stelvio Cipriani! Cipriani composed a strong, rhythmic soundtrack that only enhanced the terror, suspense and violence. It drives Lenzi's unapologetic direction of this fast-paced story with its plot twists and non-stop hungry "ghouls".
Another known supporting actors include Puerto Rican Mel Ferrer, veteran of late 70s/early 80s exploitation cinema portraying a military general. His character's role is to minimize damage but cover their accident and its mayhem on the surrounding city. The other veteran actor is Francisco Rabal who is on the military bad villians whose endangered artist-wife is home alone.
Although stated in video and fan magazine interviews, Lenzi denies following observations, film is deemed by "zombie" genre fans/critics as another "Dawn of the Dead" rip-off with borrowed tropes like a bullet to the head kills this film's diseased men.
The storyline is about a reporter (Stiglitz) covering a mysterious but classified military incident that produces these vampiric "ghouls". The rest of the film follows vignettes of people surviving a city of running "ghouls" surrounding the main characters: reporter and his doctor-wife (Trotter). Lenzi had commented the film was inspired by a real Italian village contaminated by a gas leak (interpreted as a fear of nuclear power in film) going against producer's desire to based it on a modern "zombie" trope.
Aside from gory scenes, the another star of this film: Stelvio Cipriani! Cipriani composed a strong, rhythmic soundtrack that only enhanced the terror, suspense and violence. It drives Lenzi's unapologetic direction of this fast-paced story with its plot twists and non-stop hungry "ghouls".
Another known supporting actors include Puerto Rican Mel Ferrer, veteran of late 70s/early 80s exploitation cinema portraying a military general. His character's role is to minimize damage but cover their accident and its mayhem on the surrounding city. The other veteran actor is Francisco Rabal who is on the military bad villians whose endangered artist-wife is home alone.
Although stated in video and fan magazine interviews, Lenzi denies following observations, film is deemed by "zombie" genre fans/critics as another "Dawn of the Dead" rip-off with borrowed tropes like a bullet to the head kills this film's diseased men.
Halloween Ends (2022)
Halloween Ends: The Tragedy of Allison & Corey
"Halloween Ends" (2022) by David Green continues the "Final Girl Laurie" saga by adding a love tragedy. "Corey" (Rohan Campbell), who had a tragic incident happened after sequels: "Halloween" (2018) and "Halloween Kills" (2021).
"Laurie" (Jamie Lee Curtis) tries to live in Haddonfield, Illinois with her grown up granddaughter, "Allison" (Andi Matichak) after the deaths of "Laurie's" daughter and son-in-law.
"Allison", who's physician nurse begins a friendship with recluse, "Corey". He becomes more socially withdrawn taking "Allison" on a dark pathway with him. One night, their first date he runs into his past leaving her behind.
That rainy night by darkened sewers he meets who could possibly the "Shape" or "Michael Meyers". "Meyers" mysteriously disappeared after his clash with Haddonfield township in "Halloween Kills". As Halloween night approaching, Haddonfield murders begin again. This where the film becomes that I refer as a "Slashdrama". Considering the original 1978 "Halloween" film created a basic template for the 80s "Slasher" genre.
The dramatic results of the "Final Girl" (a trope within this genre) is aging, trying to cope with her tragedies of losing family and friends to homicidal killing. Facing death that weren't natural but rather of human conflict. Jamie Lee Curtis portraying "Laurie" was well-done. The rest of cast didn't shine like her, part of this film's weak points. Rather than having shown more of "Laurie" coping with the older chapter of her life, film concentrated between "Allison"/"Corey" attraction. Although its new character development added freshness to the added script, it weakened the needed suspense and tension between "Laurie"/"Shape" conflict.
In the story, "Laurie" had introduced "Corey" to "Allison" but regreting it as she fears that "Corey's" behavior could become another "Shape". In the end, Green's style didn't return as seen with this sequel but at least tried a dramatic return.
"Laurie" (Jamie Lee Curtis) tries to live in Haddonfield, Illinois with her grown up granddaughter, "Allison" (Andi Matichak) after the deaths of "Laurie's" daughter and son-in-law.
"Allison", who's physician nurse begins a friendship with recluse, "Corey". He becomes more socially withdrawn taking "Allison" on a dark pathway with him. One night, their first date he runs into his past leaving her behind.
That rainy night by darkened sewers he meets who could possibly the "Shape" or "Michael Meyers". "Meyers" mysteriously disappeared after his clash with Haddonfield township in "Halloween Kills". As Halloween night approaching, Haddonfield murders begin again. This where the film becomes that I refer as a "Slashdrama". Considering the original 1978 "Halloween" film created a basic template for the 80s "Slasher" genre.
The dramatic results of the "Final Girl" (a trope within this genre) is aging, trying to cope with her tragedies of losing family and friends to homicidal killing. Facing death that weren't natural but rather of human conflict. Jamie Lee Curtis portraying "Laurie" was well-done. The rest of cast didn't shine like her, part of this film's weak points. Rather than having shown more of "Laurie" coping with the older chapter of her life, film concentrated between "Allison"/"Corey" attraction. Although its new character development added freshness to the added script, it weakened the needed suspense and tension between "Laurie"/"Shape" conflict.
In the story, "Laurie" had introduced "Corey" to "Allison" but regreting it as she fears that "Corey's" behavior could become another "Shape". In the end, Green's style didn't return as seen with this sequel but at least tried a dramatic return.
Shaun of the Dead (2004)
Shaun of the Dead: The 20 Year Plan
After viewing "Shaun of the Dead" (2004) 20 years later, it still has a lot of humor and action to satisfy another generation. George A Romero's living dead films ("Night of the Living Dead", "Dawn of the Dead", etc.) inspired this zombie romantic comedy or "Zom-Rom-Com". This film was pioneering before that specific genre became popular later with films: "Zombieland" (2009), "Night of the Living Deb" (2014), etc..
Edgar Wright and Simon Pegg wrote this cleverly-crafted storyline that features "Easter eggs" referencing Romero's living dead films. From "Were coming to get you Barbara!" (from "Night of the Living Dead's" opening scene: "They'll coming to get you Barbara") to "Foree Electronics" reference "Dawn of the Dead's" actor Ken Foree.
This film can suggest "video nasty" nostalgia-era (VHS-home entertainment formatted films like "Dawn of the Dead" that were temporarily banned) for Brits to remember but for US viewers recognize the Romero's obvious influence. Story revolves around "Shaun", (Simon Pegg) and "Ed" (played by Nick Frost) - two young adult Brits about to combat a city of living dead.
This film works as a comedy since "Dawn of the Dead" also had off-beat humor amongst an ultraviolent, nihilistic situation. Here written by Wright and Pegg have woven a love story into the violence, all bittersweet. Full of different characters from "Shaun's" family to his girlfriend's friends. It also features soundtrack of "Dawn of the Dead" music bits plus pop songs from Queen and others.
Wright's direction of camera angles, pacing, etc. Is on point delivering action, gore, and humor. Moreover, Wright would continue afterwards with two more films connecting this one as the "Three Flavours of Cornetta" (referencing a popular sweet confection ice cream cone). Each film had Pegg and Frost reappeared as different characters/scenarios. It's been said that the late George A. Romero personally likes this parody of his living dead film works.
Edgar Wright and Simon Pegg wrote this cleverly-crafted storyline that features "Easter eggs" referencing Romero's living dead films. From "Were coming to get you Barbara!" (from "Night of the Living Dead's" opening scene: "They'll coming to get you Barbara") to "Foree Electronics" reference "Dawn of the Dead's" actor Ken Foree.
This film can suggest "video nasty" nostalgia-era (VHS-home entertainment formatted films like "Dawn of the Dead" that were temporarily banned) for Brits to remember but for US viewers recognize the Romero's obvious influence. Story revolves around "Shaun", (Simon Pegg) and "Ed" (played by Nick Frost) - two young adult Brits about to combat a city of living dead.
This film works as a comedy since "Dawn of the Dead" also had off-beat humor amongst an ultraviolent, nihilistic situation. Here written by Wright and Pegg have woven a love story into the violence, all bittersweet. Full of different characters from "Shaun's" family to his girlfriend's friends. It also features soundtrack of "Dawn of the Dead" music bits plus pop songs from Queen and others.
Wright's direction of camera angles, pacing, etc. Is on point delivering action, gore, and humor. Moreover, Wright would continue afterwards with two more films connecting this one as the "Three Flavours of Cornetta" (referencing a popular sweet confection ice cream cone). Each film had Pegg and Frost reappeared as different characters/scenarios. It's been said that the late George A. Romero personally likes this parody of his living dead film works.
Day of the Dead (1985)
Day of the Dead: Apocalyptic Testosterone
Disclaimer: This could be seen a biased review - my apologies beforehand since the film is a viewing endearment for me. Many are quite familiar of its storyline.
"Day of the Dead"(DOD) became a template for most apocalyptic living-dead films. The late George A. Romero did this film as succeeding his past1968 "Night of the Living Dead" (NOTLD) and 1978 "Dawn of the Dead". Due to property rights and without past producers: Richard Rubenstein or Image Ten production companies that DOD didn't follow prior films' storylines (according to past 80s/90s documentaries, fanzines, etc.).
Although there's "Easter eggs" or subtle references to NOTLD's character: "Mr. Cooper" with DOD's dead corpse of "Major Cooper". Added character evolution like a main female strong lead, "Sarah" played by Lori Cardille different from NOTLD's "Barbara" character and stepping-up "Dawn of the Dead" heroine, "Fran". "Sarah" straddling male characters: testosterone-domination as a world crumbles down.
DOD has the 1st official Romero "smart zombie" character, "Bub" (played with such emotion by Sherman Howard) who tries to utterly pronounce words. Some debated that in past 70s foreign living dead film productions that there were scenes of deceased creatures using tools and other types of machines. Even with Romero's own NOTLD film has a dead creature, "Karen" (played by Kyra Schon) selecting a gardening tool from the basement wall to murder a person.
Nonetheless, DOD when released in 1985 was deemed by mainstream film critics and horror fans that felt the story's tone was too dark. I say "HELLO" it's depicting a fictional end-of-the-world scenario, did a good job. Everything else after DOD like 20 years looks like an exact DOD story copycat from Japan's 2000 film, "Junk" to 2011 AMC's "The Walking Dead" TV shows.
Another notable DOD aspect was the gore scenes provided by Romero's then usual collaborator: special effects technician and stunt actor, Tom Savini.
"Day of the Dead"(DOD) became a template for most apocalyptic living-dead films. The late George A. Romero did this film as succeeding his past1968 "Night of the Living Dead" (NOTLD) and 1978 "Dawn of the Dead". Due to property rights and without past producers: Richard Rubenstein or Image Ten production companies that DOD didn't follow prior films' storylines (according to past 80s/90s documentaries, fanzines, etc.).
Although there's "Easter eggs" or subtle references to NOTLD's character: "Mr. Cooper" with DOD's dead corpse of "Major Cooper". Added character evolution like a main female strong lead, "Sarah" played by Lori Cardille different from NOTLD's "Barbara" character and stepping-up "Dawn of the Dead" heroine, "Fran". "Sarah" straddling male characters: testosterone-domination as a world crumbles down.
DOD has the 1st official Romero "smart zombie" character, "Bub" (played with such emotion by Sherman Howard) who tries to utterly pronounce words. Some debated that in past 70s foreign living dead film productions that there were scenes of deceased creatures using tools and other types of machines. Even with Romero's own NOTLD film has a dead creature, "Karen" (played by Kyra Schon) selecting a gardening tool from the basement wall to murder a person.
Nonetheless, DOD when released in 1985 was deemed by mainstream film critics and horror fans that felt the story's tone was too dark. I say "HELLO" it's depicting a fictional end-of-the-world scenario, did a good job. Everything else after DOD like 20 years looks like an exact DOD story copycat from Japan's 2000 film, "Junk" to 2011 AMC's "The Walking Dead" TV shows.
Another notable DOD aspect was the gore scenes provided by Romero's then usual collaborator: special effects technician and stunt actor, Tom Savini.
Occhiali neri (2022)
Dark Glasses: Argento's Car Crashes
Argento, now in his 80s attempted a return to "giallo" genre with usual co-writer Franco Ferrini with "Occhiali Neri" (2022) released abroad as "Dark Glasses". The end result is a tired trope, nothing here revitalized or make it relevant for the present. Here's the story about a Rome prostitute, "Diana" (helmed by Ilena Pastorelli) who has exposed her unprotected eyes to an eclipse whilst there's murders occurring with other prostitutes and now, "Diana" is targeted.
At first, it sounds like the film with an interesting return to "giallo" but tanks, never goes anywhere storywise. Although it carries "giallo" elements with a cast that has daughter and executive producer, Asia Argento as a supporting plausible character, "Rita". She becomes an aide for "Diana" blindness coping caused by a car accident.
The killer tried to attack Diana who escaped in her car followed by an ensued a chase and is probably amongst the strongest scenes. It captured Argento's filmmaking style continuing here with angle shots, viewer exposition and POV. A techno, minimalist original soundtrack by Arnaud Rebotini pulsates with action situations to create suspense.
But there's just a lot of odd scenes like with snakes, dogs, etc. Maybe referring Argento's "Animal Trilogy". Argento very much likt to use common-found things/locations making it look stylish. Even the murderer's motivation is nonsensical (viewed this film in its original language: Italian to see if there was anymore exposition). Another story aspect which may reference 1971 Argento film: "Cat O'Nine Tails" where its mystery solvers were a blind person and a child. Here it's Xinyu Zhang as "Chin" (youth orphaned by earlier spectacular crash) and with "Diana" become unlikely buddies to both run from the murderer's path.
Practical gore effects by Sergio Stivaletti Studio whose fame stems fromthis genre where the violence is stylish-orchestrated. This isn't a best choice for Argento's talents but it's inspiring to see him still directing.
At first, it sounds like the film with an interesting return to "giallo" but tanks, never goes anywhere storywise. Although it carries "giallo" elements with a cast that has daughter and executive producer, Asia Argento as a supporting plausible character, "Rita". She becomes an aide for "Diana" blindness coping caused by a car accident.
The killer tried to attack Diana who escaped in her car followed by an ensued a chase and is probably amongst the strongest scenes. It captured Argento's filmmaking style continuing here with angle shots, viewer exposition and POV. A techno, minimalist original soundtrack by Arnaud Rebotini pulsates with action situations to create suspense.
But there's just a lot of odd scenes like with snakes, dogs, etc. Maybe referring Argento's "Animal Trilogy". Argento very much likt to use common-found things/locations making it look stylish. Even the murderer's motivation is nonsensical (viewed this film in its original language: Italian to see if there was anymore exposition). Another story aspect which may reference 1971 Argento film: "Cat O'Nine Tails" where its mystery solvers were a blind person and a child. Here it's Xinyu Zhang as "Chin" (youth orphaned by earlier spectacular crash) and with "Diana" become unlikely buddies to both run from the murderer's path.
Practical gore effects by Sergio Stivaletti Studio whose fame stems fromthis genre where the violence is stylish-orchestrated. This isn't a best choice for Argento's talents but it's inspiring to see him still directing.
The House on Sorority Row (1982)
The House on Sorority Row: Ending the 80s Golden Slasher Era
This 1982 film directed by Mark Rosman considered a popular one amongst 80s "slasher" gemstones. Coming after the lustrous commercial success of "Halloween" and "Friday the 13th" franchises that declining in ticket sales. It said to have made 10+ million with its U. S. release and was remade as "Sorority Row" (2009) which didn't mark any significant profit.
It has all the needed elements: "Final Girl", a plot twist plus gore effects. Starring Kate McNeil as it's "FG" plus a creepy clown character with a cane. This specific film in what some may call "Sorority Slashers" or what I call "80s Coed Horror" (Fraternity-set stories as well).
These films that could of have been designed for college-crowd viewers rather than suburban mall teens like early 80s films: "Final Exam", "Splatter University", "Pranks", "Girls Nite Out", etc.
It has all the needed elements: "Final Girl", a plot twist plus gore effects. Starring Kate McNeil as it's "FG" plus a creepy clown character with a cane. This specific film in what some may call "Sorority Slashers" or what I call "80s Coed Horror" (Fraternity-set stories as well).
These films that could of have been designed for college-crowd viewers rather than suburban mall teens like early 80s films: "Final Exam", "Splatter University", "Pranks", "Girls Nite Out", etc.
Robot Dreams (2023)
Robot Dreams: A Dog's Best Friend?
This multi-award winning animation film by Spaniard Pablo Berger is based on 2007 graphic novel by Sara Varon. Varon is a Chicago suburbanite who studied art in New York City which is the story's setting. This production has garnered nominations and awards such as the Goya award.
The film's animation is superb, masterful of composition staying true aesthetically to Varon's illustrations (backed up with a catchy soundtrack of original score plus pop songs). It revolves around a lonely dog who lives in NYC deciding to buy a robot for companionship. The rest of of the film's they both go on city adventures until things go array when they separate.
The simple narrative is great considering the irony where dogs need a companion. "Man's best friend" is now of needing a best friend, this is Berger's first completed animation work. He is known for Spanish comedies (but told within dark themes) and his portfolio has gotten much recognition in Spain and internationally.
Although this film is considered for youth and family entertainment but for certain scenes - I assumed some viewers might consider it appropriate for a "PG13" audience. I myself don't see any viewing problems because feeling this a great model on how to reinterpret a graphic novel onto the big screen.
The film's animation is superb, masterful of composition staying true aesthetically to Varon's illustrations (backed up with a catchy soundtrack of original score plus pop songs). It revolves around a lonely dog who lives in NYC deciding to buy a robot for companionship. The rest of of the film's they both go on city adventures until things go array when they separate.
The simple narrative is great considering the irony where dogs need a companion. "Man's best friend" is now of needing a best friend, this is Berger's first completed animation work. He is known for Spanish comedies (but told within dark themes) and his portfolio has gotten much recognition in Spain and internationally.
Although this film is considered for youth and family entertainment but for certain scenes - I assumed some viewers might consider it appropriate for a "PG13" audience. I myself don't see any viewing problems because feeling this a great model on how to reinterpret a graphic novel onto the big screen.
Stream (2024)
Stream: It's Early 2000s, Feels Dated but Delivers the Chops!
"Stream" (2024) by Michael Leavey, follows many early 2000s film's exploring cyber bullying, cyber stalking, dark web, etc. At one point one could even say it follows a particular Halloween sequel with elements of live broadcast situation or "Reality TV", a dated idea as seen in "Halloween Resurrection" (2002). Others from early 2000s internet-based horror genre from "Feardotcom" and "Friend Request". And not so recent films exploring on/offline violence/stalking: "Megan is Missing" and "Ratter".
Nonetheless "gorehounds" (to refer a dated term) will feel satisfied with a lot of practical gore, provided by "Terrifier" special effects person: Damian Leone. So far - many are talking about the infamous scene of "Noughts and Crosses" game.
It's jam-packed with 80s/80s cult and horror iconic actors: Dee Wallace ("Cujo" and "Howling"), Tony Todd ("Candyman"), Terry Alexander ("Day of the Dead"), Danielle Harris ("Halloween 5"), Felissa Rose ("Sleepaway Camp"), etc. Most of them have small, or comedic cameo roles but shine during their onscreen moment.
Jeffrey Combs from the "Reanimator" franchise is amongst the film's main cast. The story surrounds a remote hotel which becomes a battleground, fight for survival, all online bets placed on the table. Combs character here is full of camp behaviour much like his past "Reanimator" character. One the most surprising cameo is by the famed "Rocky Horror Picture Show" Tim Curry!
If you should support indie cinema on the Big Screen - see film at its current special theater release. I will assumed most viewers will be from horror/cult genre communities, this film won't disappoint with its ultra violence. There's talk about "Stream" sequels to be discussed.
This film is not complete - it does lack needed exposition in its 2-hour long story, would have helped with understanding the terror felt via bad acting from other cast members. Maybe future "Stream" productions can help with the huge gaps with this first one.
Nonetheless "gorehounds" (to refer a dated term) will feel satisfied with a lot of practical gore, provided by "Terrifier" special effects person: Damian Leone. So far - many are talking about the infamous scene of "Noughts and Crosses" game.
It's jam-packed with 80s/80s cult and horror iconic actors: Dee Wallace ("Cujo" and "Howling"), Tony Todd ("Candyman"), Terry Alexander ("Day of the Dead"), Danielle Harris ("Halloween 5"), Felissa Rose ("Sleepaway Camp"), etc. Most of them have small, or comedic cameo roles but shine during their onscreen moment.
Jeffrey Combs from the "Reanimator" franchise is amongst the film's main cast. The story surrounds a remote hotel which becomes a battleground, fight for survival, all online bets placed on the table. Combs character here is full of camp behaviour much like his past "Reanimator" character. One the most surprising cameo is by the famed "Rocky Horror Picture Show" Tim Curry!
If you should support indie cinema on the Big Screen - see film at its current special theater release. I will assumed most viewers will be from horror/cult genre communities, this film won't disappoint with its ultra violence. There's talk about "Stream" sequels to be discussed.
This film is not complete - it does lack needed exposition in its 2-hour long story, would have helped with understanding the terror felt via bad acting from other cast members. Maybe future "Stream" productions can help with the huge gaps with this first one.
Cathy's Curse (1977)
Cathy's Curse: Dolls & Regional Filmmaking
Eddy Matalon's rediscovered idiomatic style is accentuated with Cathy's Curse (1977). It was filmed in Canada and was a French-Canadian production. Recently it has gotten a revival with home media/streaming entertainment with new fan following.
After its US theatrical release, film was released in the early 80s on VHS media. Those who've seen it was a heavily-edited or dubbed by fans as an "U. S. Version" making it full of inconstancy. Later Millennials/Gen Zers discovered it on budget DVDs. Its original release version offers exposition nonetheless many prefer the "U S. Version" endearing it's inconsistent storytelling.
The full version is about a young girl, "Cathy" played by then 11 year old model actor, Randi Allen. She is haunted by a dead family member through a doll, found in the attic. Film's premise was another attempt to cash-in on the Exorcist's popularity.
The cast also recruited talent from actor, Alan Scarfe as "Cathy's" father who'd appeared on "Star Trek" TV spin-offs. It bears a soundtrack with electronic-styled feel between a sped-up musical box melody and "giallo" theme.
It's low production value has lo-fi special effects giving it a regional feel, outside of Hollywood. Its independent nature, gives it a niche which probably designed for small town Drive-in markets.
Matalon went to live in his native France continued with a media profession. Only watch if you should want to indulge in late 70s exploitation cinema nostalgia. Otherwise the story is not linear; the "U. S. Version" is even more incoherent.
After its US theatrical release, film was released in the early 80s on VHS media. Those who've seen it was a heavily-edited or dubbed by fans as an "U. S. Version" making it full of inconstancy. Later Millennials/Gen Zers discovered it on budget DVDs. Its original release version offers exposition nonetheless many prefer the "U S. Version" endearing it's inconsistent storytelling.
The full version is about a young girl, "Cathy" played by then 11 year old model actor, Randi Allen. She is haunted by a dead family member through a doll, found in the attic. Film's premise was another attempt to cash-in on the Exorcist's popularity.
The cast also recruited talent from actor, Alan Scarfe as "Cathy's" father who'd appeared on "Star Trek" TV spin-offs. It bears a soundtrack with electronic-styled feel between a sped-up musical box melody and "giallo" theme.
It's low production value has lo-fi special effects giving it a regional feel, outside of Hollywood. Its independent nature, gives it a niche which probably designed for small town Drive-in markets.
Matalon went to live in his native France continued with a media profession. Only watch if you should want to indulge in late 70s exploitation cinema nostalgia. Otherwise the story is not linear; the "U. S. Version" is even more incoherent.
Skincare (2024)
Skincare: A Jar of Narcissism
This 2024 film directed by Austin Peters states in its opening credits that it: inspired by true events. Title cards dissolved into a television interview in process with the main protagonist: "Hope Goldman".
The whole narrative is a good, stylish portrayal of narcissism and told through the gaze of "Goldman", a Hollywood "facialist" (skin treatment for celebrities). A new business for alternative skin treatment shows up across the street but for "Goldman", this is not good for business.
Rest of the film's story revolves around social media mistreatment and "cancelling"; professional reputations with many involved. Supporting roles like "Goldman"; public relations specialist, "Marine" played by Michaela Antonia Jaé Rodriguez from "Rent" musical fame plus a cameo of Wendy Malick (from 90s TV "Just Shoot Me" sitcom).
Banks is a strong lead but what's interesting is Peters's micro camera shots of skincare products, giving a late night "informercial" vibe! It also reminds one of product placement happening throughout the whole film.
Visually this film really does its best to showcase Hollywood's craze for vanity, narcissism but suggesting its celebrity culture. Taking on a comedic knee jerk at ego competition and the beauty industry via social media hype/self-marketing references.
This black comedy definitely takes an artistic licence focused on skincare treatments and products - maybe commenting on its non-regulated aspects?. Coming out at the right resently where "skin influencers" are running amok on social media and being criticized. In some cases targeting communities that shouldn't be worried about ageing.
Recently real-life skincare guru, Dawn DaLuise has come out in the media about how this film discredits her lived experience. Da Luise was a controversy amongst Hollywood's beauty industry about years ago. According to media outlets, DaLuise was accused of trying to arrange a hit on another competitive skin treatment business owner. That she supposedly is working on her own documentary - maybe these true events influence this movie production.
The whole narrative is a good, stylish portrayal of narcissism and told through the gaze of "Goldman", a Hollywood "facialist" (skin treatment for celebrities). A new business for alternative skin treatment shows up across the street but for "Goldman", this is not good for business.
Rest of the film's story revolves around social media mistreatment and "cancelling"; professional reputations with many involved. Supporting roles like "Goldman"; public relations specialist, "Marine" played by Michaela Antonia Jaé Rodriguez from "Rent" musical fame plus a cameo of Wendy Malick (from 90s TV "Just Shoot Me" sitcom).
Banks is a strong lead but what's interesting is Peters's micro camera shots of skincare products, giving a late night "informercial" vibe! It also reminds one of product placement happening throughout the whole film.
Visually this film really does its best to showcase Hollywood's craze for vanity, narcissism but suggesting its celebrity culture. Taking on a comedic knee jerk at ego competition and the beauty industry via social media hype/self-marketing references.
This black comedy definitely takes an artistic licence focused on skincare treatments and products - maybe commenting on its non-regulated aspects?. Coming out at the right resently where "skin influencers" are running amok on social media and being criticized. In some cases targeting communities that shouldn't be worried about ageing.
Recently real-life skincare guru, Dawn DaLuise has come out in the media about how this film discredits her lived experience. Da Luise was a controversy amongst Hollywood's beauty industry about years ago. According to media outlets, DaLuise was accused of trying to arrange a hit on another competitive skin treatment business owner. That she supposedly is working on her own documentary - maybe these true events influence this movie production.
The Last Slumber Party (1988)
Last Slumber Party: Let the 80s Begin...
Steven Tyler's "The Last Slumber Party" had been "rediscovered" by online Millennial bloggers advocating bad film enthusiastism. Although for 80s Gen X youth and Baby Boomer parents maybe had it as a cheap VHS Friday night activity. Close to ten years ago, Texas-famed Alamo Drafthouse screened it with a discussion with a cast member. Lately, it garnered attention on "Final Girl" cinematic tropes within horror filmmaking.
Jan Jensen as "Chris", "Final Girl" archetype who's performance has been written about in the New York Times. Instead of the typical "Final Girl" being a "good girl" who doesn't drink, etc. Think '77's "Halloween" with Jamie Lee Curtis. In 1981's "The Last Slumber Party", "Chris" is a ring leader and an enabler predates "Mean Girls" archetype convincing her friends to have a sleep over. Then their male friends decide to drop by to mess around with the girlfriends while a psychotic man becomes the party crasher.
"Chris" needs to figure out the escape route and of course it's the early 80s where adult actors are portraying teen characters. With its silly dialogue, the story surprisingly decides to go into unpredictable scenarios. It changes almost into the fantasy horror predating "A Nightmare on Elm Street" (1984).
It was actually filmed in '81 but officially released until '88 with brief add-on scenes. Aside from its plot twists with lo-fi special effects, it's obviously an effort in trying to cash-in (or inspired by) on the "Halloween" slasher copycat trend. As a regional film shot in suburbia Losuiana, it captured small town America but oddly backed up with its Southern-accented talking cast.
Recent film enthusiasts has helped viewers as well as critics to see its film commitment. A lot of iconic scenes where they dance 80s era moves with guys drinking beer constantly. This film no doubt isn't a great technically made film but proves that with determination: one can create film which is not forgotten.
Jan Jensen as "Chris", "Final Girl" archetype who's performance has been written about in the New York Times. Instead of the typical "Final Girl" being a "good girl" who doesn't drink, etc. Think '77's "Halloween" with Jamie Lee Curtis. In 1981's "The Last Slumber Party", "Chris" is a ring leader and an enabler predates "Mean Girls" archetype convincing her friends to have a sleep over. Then their male friends decide to drop by to mess around with the girlfriends while a psychotic man becomes the party crasher.
"Chris" needs to figure out the escape route and of course it's the early 80s where adult actors are portraying teen characters. With its silly dialogue, the story surprisingly decides to go into unpredictable scenarios. It changes almost into the fantasy horror predating "A Nightmare on Elm Street" (1984).
It was actually filmed in '81 but officially released until '88 with brief add-on scenes. Aside from its plot twists with lo-fi special effects, it's obviously an effort in trying to cash-in (or inspired by) on the "Halloween" slasher copycat trend. As a regional film shot in suburbia Losuiana, it captured small town America but oddly backed up with its Southern-accented talking cast.
Recent film enthusiasts has helped viewers as well as critics to see its film commitment. A lot of iconic scenes where they dance 80s era moves with guys drinking beer constantly. This film no doubt isn't a great technically made film but proves that with determination: one can create film which is not forgotten.
Phenomena (1985)
80s Phenomena & All Things Creepy
"Phenomena" by Dario Argento (1985) is the film that actor Jennifer Connelly never gives a reference. She was casted by the director's team right before her casting in Labyrinth (1985). This film had been released in three versions: Italian cut; international edit plus a US release (New Line Cinema retitled it as "Creepers").
Its cast included iconic stars from then fantastic/horror genres from Daria Nicolodi to Donald Pleasance. Other Italian significant cameos were Michel Soavi, who later directed future 80s-90s horror films such as "The Sect" and "Cemetery Man".
This film is about a young US teenager (Connelly) at an European boarding school where there's murderous crimes amok. She's a sleepwalker who develops a strange phenomenal talent with insects to investigate the murders.
This film continues Argento's fame within "giallo" cinema but gives it a 80s twist. Firstly its typical "giallo" with murderer's POV wearing black gloves. Then there's a phenomenal teen with insects as amateur sleuths, another needed aspect. Lastly, the horrible orchestrated violent scenes (maybe why Connelly doesn't reference this film).
Then it's part residual elements stemming from Argento's previous film: "Suspiria" (1977) famed for its "giallo" influence (killer's POV and orchestral gore). Its about boarding school witchcraft with a loud soundtrack from rock group: Goblin.
"Phenomena" changed it up for the 80s having teen actors (not adults) with a metal soundtrack enlisting then known musical acts like Iron Maiden. Yes, even its ultra violent and optical special effects featured Argento's teen daughter Fiore as a victim.
"Creepers", the US version from the "Nightmare on Elm Street" franchise distributor was a heavily-edited version probably to market for a young teen audience promoting home entertainment rental formats. Aside from its stylized camera shots and violence it includes a predated subplot of an angered chimpanzee plus Giorgio Armani's clothing designs.
Its cast included iconic stars from then fantastic/horror genres from Daria Nicolodi to Donald Pleasance. Other Italian significant cameos were Michel Soavi, who later directed future 80s-90s horror films such as "The Sect" and "Cemetery Man".
This film is about a young US teenager (Connelly) at an European boarding school where there's murderous crimes amok. She's a sleepwalker who develops a strange phenomenal talent with insects to investigate the murders.
This film continues Argento's fame within "giallo" cinema but gives it a 80s twist. Firstly its typical "giallo" with murderer's POV wearing black gloves. Then there's a phenomenal teen with insects as amateur sleuths, another needed aspect. Lastly, the horrible orchestrated violent scenes (maybe why Connelly doesn't reference this film).
Then it's part residual elements stemming from Argento's previous film: "Suspiria" (1977) famed for its "giallo" influence (killer's POV and orchestral gore). Its about boarding school witchcraft with a loud soundtrack from rock group: Goblin.
"Phenomena" changed it up for the 80s having teen actors (not adults) with a metal soundtrack enlisting then known musical acts like Iron Maiden. Yes, even its ultra violent and optical special effects featured Argento's teen daughter Fiore as a victim.
"Creepers", the US version from the "Nightmare on Elm Street" franchise distributor was a heavily-edited version probably to market for a young teen audience promoting home entertainment rental formats. Aside from its stylized camera shots and violence it includes a predated subplot of an angered chimpanzee plus Giorgio Armani's clothing designs.
Ghoulies (1984)
Ghoulies: 80s Era Beginning of Cultmaking & Cinema Legal Disputes
"Ghoulies" is said to be a "Gremlins" (1984) knock off, but many say that it was only a coincidence. "Ghoulies" was being filmed when the latter was still in production. Past interviews states its director Luca Bercovici and Charles Band's Empire Pictures were standing by this.
Bercovici's original idea was a much darker theme with the occult. At the end, "Ghoulies" morphed into a horror comedy, a signature staple seen later with Band-produced films. "Ghoulies" marketed by disfunct Empire Pictures as a horror or black comedy became a standard like Full Moon's "Puppet Master" franchise, 90s Band products.
This film's story is revolves around "Jonathan" (Peter Liapis) who inherited a mansion with a discovered connection to his occultist dead father, "Malcolm" (Michael Des Barres). Then a party of his girlfriend, "Rebecca" (Lisa Pelikan) and friends gather at the mansion for some good old fun with little creatures (recently resurrected) and a lot of gag shots. Pelikan isn't a stranger to exploitation cinema who starred in "Jennifer" (1978), a "Carrie" (1976) knock off.
Presently "Ghoulies" fan circles has given much popularity for its 80s cult status and practical special effects. Even its cast capped 80s era with Des Barres (a rock star turned actor) but the fact is it was Band's controversial ad campaign. A "ghoulie" creature popping out of a toilet graced the film posters with the tagline: "They'll get you in the end!"
Upon its 1984's release, many complained about lobby posters traumatizing onlookers. "Ghoulies" was plagued with legal disputes from its title (Warner Bros. Attempted to sue) to copyright (Bercovici vs Band).
Band can be seen as the home media mogul of schlock and other guilty pleasures made a fortune with this production. His genius can be compared to Roger Corman since many stars from Demi Moore to Helen Hunt plus directors like Bercovici got their first start with Band's productions.
Bercovici's original idea was a much darker theme with the occult. At the end, "Ghoulies" morphed into a horror comedy, a signature staple seen later with Band-produced films. "Ghoulies" marketed by disfunct Empire Pictures as a horror or black comedy became a standard like Full Moon's "Puppet Master" franchise, 90s Band products.
This film's story is revolves around "Jonathan" (Peter Liapis) who inherited a mansion with a discovered connection to his occultist dead father, "Malcolm" (Michael Des Barres). Then a party of his girlfriend, "Rebecca" (Lisa Pelikan) and friends gather at the mansion for some good old fun with little creatures (recently resurrected) and a lot of gag shots. Pelikan isn't a stranger to exploitation cinema who starred in "Jennifer" (1978), a "Carrie" (1976) knock off.
Presently "Ghoulies" fan circles has given much popularity for its 80s cult status and practical special effects. Even its cast capped 80s era with Des Barres (a rock star turned actor) but the fact is it was Band's controversial ad campaign. A "ghoulie" creature popping out of a toilet graced the film posters with the tagline: "They'll get you in the end!"
Upon its 1984's release, many complained about lobby posters traumatizing onlookers. "Ghoulies" was plagued with legal disputes from its title (Warner Bros. Attempted to sue) to copyright (Bercovici vs Band).
Band can be seen as the home media mogul of schlock and other guilty pleasures made a fortune with this production. His genius can be compared to Roger Corman since many stars from Demi Moore to Helen Hunt plus directors like Bercovici got their first start with Band's productions.
Ruby (1977)
Ruby: Harrington's Frustration
"Ruby" (1977) directed by the late genre master Curtis Harrington was considered his most commercial successful film. For Harrington himself, it was the worst experience with Hollywood (documented in the published memoir: "Nice Guys Don't Work in Hollywood").
This film's popularity served well for Piper Laurie's acting comeback which "Ruby" was already-scripted (with her onboard) before she worked on Brian De Palma's '76 "Carrie". Of course it influenced the film's marketing with its tagline of: "Piper Laurie was frightening in 'Carrie'... Now terrifying in 'Ruby'".
The story is about an ex-gangster moll, "Ruby" (played by Laurie) who's haunted by an ex-lover, "Nicky". She owns a Drive-in business in Florida set in the early 50s. Los Angeles film critics like David del Valle feel that Harrington's cinematic style with "Ruby" suggest supernatural elements, or in some scenes: "Southern Gothic" (film's setting in Florida's swamp areas but shot in California).
Other actors: Stuart Whitman as an ex-gangster, "Vince" and Roger Davis as a visiting medium, "Dr. Keller" plus Janet Baldwin as the possessed child, "Leslie". There's a lot of ambivalence with the film's screenplay showing Harrington's frustration. According to him, it was caused by executive producer, Steve Krantz during the production.
"Ruby" was mainly produced to cash-in with a long line of "The Exorcist" (1973) rip-offs. Its original title by Harrington was "The Apparition" and was not insistent on special effects or "jump scares" but focused on psychological aspects of the supernatural.
Harrington had legal disputes with Krantz on the film's theatrical/television/home entertainment formats since there were scenes not directed by him and a removal of the original ending.
If you are a Harrington fan, "Ruby" is a must see film! It's not considered his best but definitely has Harrington's signature marks. This film has been remastered with a version released on DVD/Blu-Ray formats.
This film's popularity served well for Piper Laurie's acting comeback which "Ruby" was already-scripted (with her onboard) before she worked on Brian De Palma's '76 "Carrie". Of course it influenced the film's marketing with its tagline of: "Piper Laurie was frightening in 'Carrie'... Now terrifying in 'Ruby'".
The story is about an ex-gangster moll, "Ruby" (played by Laurie) who's haunted by an ex-lover, "Nicky". She owns a Drive-in business in Florida set in the early 50s. Los Angeles film critics like David del Valle feel that Harrington's cinematic style with "Ruby" suggest supernatural elements, or in some scenes: "Southern Gothic" (film's setting in Florida's swamp areas but shot in California).
Other actors: Stuart Whitman as an ex-gangster, "Vince" and Roger Davis as a visiting medium, "Dr. Keller" plus Janet Baldwin as the possessed child, "Leslie". There's a lot of ambivalence with the film's screenplay showing Harrington's frustration. According to him, it was caused by executive producer, Steve Krantz during the production.
"Ruby" was mainly produced to cash-in with a long line of "The Exorcist" (1973) rip-offs. Its original title by Harrington was "The Apparition" and was not insistent on special effects or "jump scares" but focused on psychological aspects of the supernatural.
Harrington had legal disputes with Krantz on the film's theatrical/television/home entertainment formats since there were scenes not directed by him and a removal of the original ending.
If you are a Harrington fan, "Ruby" is a must see film! It's not considered his best but definitely has Harrington's signature marks. This film has been remastered with a version released on DVD/Blu-Ray formats.
Trauma (1993)
Trauma: Argento's USA Entry with Giallo
This 1993 film by Dario Argento was his only "giallo" US based film. It was entirely shot in Minneapolis with mostly American casting. Enlisting Hollywood star power: Piper Laurie and Frederic Forrest amongst the main ensemble and the other star was Tom Savini's practical special effects.
Argento's teenaged daughter, Asia playing the main character: "Aura". Actors Christopher Rydell, Brad Dourif and James Russo also make the film's casting with a Pino Donaggio soundtrack.
Argento's film explored taboos about love (between "Aura" and "David" played by Rydell) and eating disorders. It said that Asia had pre-read the famed book: "The Golden Cage: The Enigma of Anorexia Nervosa" and that Argento's late stepdaughter (Anna) suffered from an eating disorder (an uncredited cameo appearance).
This forbidden love story involved "Aura" (drug abuser with a eating disorder) and "David" amidst the cityscape there's a serial killer decapitating victims called "Head Hunter". Murders only happens during rainstorms and it works to create suspense and confusion.
Although this film is set in the US, its cinematographic style (with steadicam shots) was European. Rain and lightning effects helped to produce an atmospheric landscape for the film's violence.
Argento has said that he wanted to create a viewer misdirection or perceptions recalling his '70 "giallo" film: "The Bird with a Crystal Plumage". "Trauma" has been seen as Argento's trying to break commercially or at least seen as internationalizing the "giallo" genre (though it could be consider under new "Maternal/Gynae Horror" tropes).
But many feel that Lucio Fulci's "New York Ripper" (1982) is probably the first US based "giallo" connecting the 80s "slasher" genre. It has been documented that Argento said this would be the last film to direct which was not true. A few years later, he made (starring Asia again) what is considered his 90s best film: "The Stendhal Syndrome" (1996).
Argento's teenaged daughter, Asia playing the main character: "Aura". Actors Christopher Rydell, Brad Dourif and James Russo also make the film's casting with a Pino Donaggio soundtrack.
Argento's film explored taboos about love (between "Aura" and "David" played by Rydell) and eating disorders. It said that Asia had pre-read the famed book: "The Golden Cage: The Enigma of Anorexia Nervosa" and that Argento's late stepdaughter (Anna) suffered from an eating disorder (an uncredited cameo appearance).
This forbidden love story involved "Aura" (drug abuser with a eating disorder) and "David" amidst the cityscape there's a serial killer decapitating victims called "Head Hunter". Murders only happens during rainstorms and it works to create suspense and confusion.
Although this film is set in the US, its cinematographic style (with steadicam shots) was European. Rain and lightning effects helped to produce an atmospheric landscape for the film's violence.
Argento has said that he wanted to create a viewer misdirection or perceptions recalling his '70 "giallo" film: "The Bird with a Crystal Plumage". "Trauma" has been seen as Argento's trying to break commercially or at least seen as internationalizing the "giallo" genre (though it could be consider under new "Maternal/Gynae Horror" tropes).
But many feel that Lucio Fulci's "New York Ripper" (1982) is probably the first US based "giallo" connecting the 80s "slasher" genre. It has been documented that Argento said this would be the last film to direct which was not true. A few years later, he made (starring Asia again) what is considered his 90s best film: "The Stendhal Syndrome" (1996).
Sing Sing (2023)
Sing Sing: Dramatizing Prison Arts
This 2024 film directed by Greg Kwedar inspired by Sing Sing Correctional Facility existing program: Rehabilitation Through the Arts (RTA) and past incarcerated memories of Clarence 'Divine Eye' Maclin. RTA's theatre arts initiative was founded by Katherine Vockins in the mid 1990s working underneath its educational programming.
This film set at Sing Sing Correctional Facility which is a maximum security prison close by by New York City (originally founded as Ossining Correctional Facility in early 1800s). This film though doesn't explore it's institutional history or the founding of RTA was rather it takes a creative effort in portraying contemporary prison life.
It's cemented firstly by the dynamic acting of Colman Domingo, a openly gay African American. His portfolio is extremely impressive with Pulitzer Prize along with acting in a Steven Spielberg production. Sean San Jose also lends his great acting talent to this film's ensemble.
Domingo portrayal of main character, "John 'Divine G' Whitfield" inspired by former inmate's life experiences The rest of cast is comprised of formerly incarcerated men really give a strong platform for Domingo's acting. This film is already garnishing many film nominees and awards for the acting tropes.
It's fictional narrative strives to give not only insight in how arts and educational programming at correctional facilities but it demonstrates how institutional trauma and systemic racism can be dealt with.
Although these themes are probably considered controversial is maybe why the film ticket sales are not significant. This film should be seen and experienced that it can build empathy for those incarcerated.
Especially in cases where inmates have been wrongly accused for crimes not done. One Sing Sing Correctional Facility case, Jon-Adrian Velazquez (plays himself in this film) who had served a 25 years at Sing Sing Correctional Facility after wrongfully convicted for murder. His case had been under much investigation until a release was granted in 2021.
This film set at Sing Sing Correctional Facility which is a maximum security prison close by by New York City (originally founded as Ossining Correctional Facility in early 1800s). This film though doesn't explore it's institutional history or the founding of RTA was rather it takes a creative effort in portraying contemporary prison life.
It's cemented firstly by the dynamic acting of Colman Domingo, a openly gay African American. His portfolio is extremely impressive with Pulitzer Prize along with acting in a Steven Spielberg production. Sean San Jose also lends his great acting talent to this film's ensemble.
Domingo portrayal of main character, "John 'Divine G' Whitfield" inspired by former inmate's life experiences The rest of cast is comprised of formerly incarcerated men really give a strong platform for Domingo's acting. This film is already garnishing many film nominees and awards for the acting tropes.
It's fictional narrative strives to give not only insight in how arts and educational programming at correctional facilities but it demonstrates how institutional trauma and systemic racism can be dealt with.
Although these themes are probably considered controversial is maybe why the film ticket sales are not significant. This film should be seen and experienced that it can build empathy for those incarcerated.
Especially in cases where inmates have been wrongly accused for crimes not done. One Sing Sing Correctional Facility case, Jon-Adrian Velazquez (plays himself in this film) who had served a 25 years at Sing Sing Correctional Facility after wrongfully convicted for murder. His case had been under much investigation until a release was granted in 2021.
Quadrant (2024)
Quadrant: A miss or Cultmaking?
Charles Band, master of counter-cultural mass media becomes now, transmedia with this new 2024 film (being released on all analog, digital and physical media formats on the same day). This time, he's behind the camera directing with AI concepts, etc.
The production notes behind this film go back to the 80s when Band was involved with Empire Pictures. Then there was another attempt under Full Moon in the mid 90s. Now under a series of films entitled "Pulp Noir" (Quadrant is the first release).
These films are staying from black humor and prior used antics and going for more dark topics and themes. The particular film exploring virtual reality based on personal traumas and fantasies. This reality is monitored by two scientific researchers: Harry and Meg and use volunteers to use the quadrant as therapy.
Each patient are getting the results desired but one patient is having interesting side effects. Aside from these volunteer case studies, one study, Erin has an obsession with serial killers like Jack the Ripper. Or is it Erin's personal desire?
The rest of film is pretty predictable but has interesting conflict. Considering that AI has been criticized for its usage with filmmaking. Band never shies away from testing new techniques and formats. Acting is moderate and AI effects are fun to depict the nightmarish scenes brought forth between the quadrant and case studies.
The production notes behind this film go back to the 80s when Band was involved with Empire Pictures. Then there was another attempt under Full Moon in the mid 90s. Now under a series of films entitled "Pulp Noir" (Quadrant is the first release).
These films are staying from black humor and prior used antics and going for more dark topics and themes. The particular film exploring virtual reality based on personal traumas and fantasies. This reality is monitored by two scientific researchers: Harry and Meg and use volunteers to use the quadrant as therapy.
Each patient are getting the results desired but one patient is having interesting side effects. Aside from these volunteer case studies, one study, Erin has an obsession with serial killers like Jack the Ripper. Or is it Erin's personal desire?
The rest of film is pretty predictable but has interesting conflict. Considering that AI has been criticized for its usage with filmmaking. Band never shies away from testing new techniques and formats. Acting is moderate and AI effects are fun to depict the nightmarish scenes brought forth between the quadrant and case studies.
Don't Go in the Woods (1981)
Don't Go In the Woods Alone: James Bryan's Monty Python Circus?
The story is simply about four young campers going about a wilderness area where a large body count is mounting. As the film nears the climax that these campers finally catch up with what's killing other campers.
This low budget 80s film directed by James Bryan is pure schlock but for specific cinefiles and critics, it symbolizes aesthetically censored genre, the 80s Slasher boom and cult fan endearment.
It was promoted with what many seen as iconic Slasher poster graphics and media marketing campaign. It's 1981, many blockbusters coming out from Close Encounters of the Third Kind to Friday the 13th/Halloween sequels but this film straight from Utah's woodlands competed for ticket sales.
It has a stark music soundtrack sounding like John Carpenter-styled compositions but sped up. Bryan has said that the comedic antics in certain scenes were intentional (moreover it opening scene suggest Monty Python films).
There's many death scenes - the body count goes up to around 13 + kills. The acting is not good but many over the decades has garnered an appreciation for its imperfections.
The gore effects are minimal, lo-fi but the usage of Utah's actual woods (shot with heavy-handed shaky/handheld cam angles) helped to create it's supposed terror. In the UK, this film was a notorious British Nasty film and in U. S. it has a reputation as a Grindhouse entry or quintessential exploitation cinema.
Only watch if you're interested in Slasher genre, looking at regional manifestations. Otherwise this may not be your cup of tea, an US based video media outlet released a 2015 remastered 2K home video version (yet many are yearning for the 4k format) appreciating its location shots of the woods. It could have influence future genre films such as the 2024 "In Violent Nature" film.
This low budget 80s film directed by James Bryan is pure schlock but for specific cinefiles and critics, it symbolizes aesthetically censored genre, the 80s Slasher boom and cult fan endearment.
It was promoted with what many seen as iconic Slasher poster graphics and media marketing campaign. It's 1981, many blockbusters coming out from Close Encounters of the Third Kind to Friday the 13th/Halloween sequels but this film straight from Utah's woodlands competed for ticket sales.
It has a stark music soundtrack sounding like John Carpenter-styled compositions but sped up. Bryan has said that the comedic antics in certain scenes were intentional (moreover it opening scene suggest Monty Python films).
There's many death scenes - the body count goes up to around 13 + kills. The acting is not good but many over the decades has garnered an appreciation for its imperfections.
The gore effects are minimal, lo-fi but the usage of Utah's actual woods (shot with heavy-handed shaky/handheld cam angles) helped to create it's supposed terror. In the UK, this film was a notorious British Nasty film and in U. S. it has a reputation as a Grindhouse entry or quintessential exploitation cinema.
Only watch if you're interested in Slasher genre, looking at regional manifestations. Otherwise this may not be your cup of tea, an US based video media outlet released a 2015 remastered 2K home video version (yet many are yearning for the 4k format) appreciating its location shots of the woods. It could have influence future genre films such as the 2024 "In Violent Nature" film.
Ice Cream Man (1995)
An Ice Cream Man: Howard As A VHS Scoop of Iconic 90s Mess?
Clint Howard is no stranger to 80s exploitation and low budget horror. "Ice Cream Man" (directed by Norman Apstein) could have be his 90s shining comeback stone, an uncut gem (stirring away from 80s slasher tropes) as an unintentional contribution to meta-horror genre: to be or not be ice creamed. Or it's an influence from 70s/80s exploitation forerunners of cannibal and edible horror: "Texas Chainsaw Massacre", "Motel Hell" and of course Larry Cohen's "The Stuff". Although it's subplot is a resemblance of 70s "Don't Look in the Basement" story.
This film over the years has acquired an underground fanatic but Cult-Horror host persona, Joe Bob Briggs rejuvenates it within Middle America's "counter-cultural" mainstream. Film initially debuted in 1995 on VHS home entertainment then Briggs helped to bring it back as a black comedy slasher (but it's more like a R-rated Goosebumps story) in the 2000s.
Howard is the main star and villainous he is as deranged Gregory Tudor! A young man suffered a childhood trauma the leads him to be a psychotic hot mess. This storyline revolves a ice cream parlor-like factory (now operated by Tudor) in a suburban area with terror to churn.
Other known horror/cult genre stars play small, almost comedic roles from Olivia Hussey ("Black Christmas" fame), David Warner ("Time After Time" cult status) and the infamous David Naughton ("An American Werewolf in London").
If you are a Gen Zer (or leftover of Millennial mutations) you may want to catch this film and see what the fuss 90s physical media culture was all about! Films like this were a dime a dozen at then suburban/small town Bockbuster/Hollywood Video rental outlets!
A supposed sequel (with Howard backing it up) is still a brewing even after a 2014 failed crowdfunding effort. Howard also can be remembered as a possessed Satanic computer nerd in the 80s "Evilspeak", an unforgettable performance!
This film over the years has acquired an underground fanatic but Cult-Horror host persona, Joe Bob Briggs rejuvenates it within Middle America's "counter-cultural" mainstream. Film initially debuted in 1995 on VHS home entertainment then Briggs helped to bring it back as a black comedy slasher (but it's more like a R-rated Goosebumps story) in the 2000s.
Howard is the main star and villainous he is as deranged Gregory Tudor! A young man suffered a childhood trauma the leads him to be a psychotic hot mess. This storyline revolves a ice cream parlor-like factory (now operated by Tudor) in a suburban area with terror to churn.
Other known horror/cult genre stars play small, almost comedic roles from Olivia Hussey ("Black Christmas" fame), David Warner ("Time After Time" cult status) and the infamous David Naughton ("An American Werewolf in London").
If you are a Gen Zer (or leftover of Millennial mutations) you may want to catch this film and see what the fuss 90s physical media culture was all about! Films like this were a dime a dozen at then suburban/small town Bockbuster/Hollywood Video rental outlets!
A supposed sequel (with Howard backing it up) is still a brewing even after a 2014 failed crowdfunding effort. Howard also can be remembered as a possessed Satanic computer nerd in the 80s "Evilspeak", an unforgettable performance!